Since 1934, the Village Vanguard in New York's Greenwich Village has hosted the foremost in live jazz, folk music, and comedy. Its owner, Max Gordon, has now written a personal history of his club and the hundreds of entertainment legends who have played there. Miles Davis, Charlie Parker, John Coltrane, Sonny Rollins, Lenny Bruce, Woody Allen, Woodie Guthrie, Betty Comden and Adolph Green, Josh White, Pete Seeger--Max has stories about all of them. And what stories! As Nat Hentoff says in his introduction, "A good many so-called professional writers have not done nearly so well."

The last few years have witnessed an enormous resurgence in the popularity of jazz, after some lean times in the sixties when many potential jazz fans turned to rock. Now the pendulum is on the backswing, and vintage and modern jazz as well as "jazz rock" are attracting huge new audiences. One factor involved in the comeback of jazz among blacks and whites alike is the rise of black consciousness, with its search for roots in the American experience. Nat Hentoff's "The Jazz Life" explores the social, economic, and psychological elements that make up the context of modern jazz. Among the jazz greats whose lives and work are discussed are Count Basie, Charles Mingus, John Lewis, Miles Davis, Thelonius Monk, and Ornette Coleman. Written with intelligence, passion, and wit, this jazz classic is of immense importance to anyone wanting a better understanding of the jazz--or indeed our American life.

Blues is a language--one which has evolved its own rules and which is the sole property of a culture always forced to the periphery of white society. As such it is a political language. Whether it is passed as a legacy from African village to Mississippi farm, or from farm to Chicago ghetto, or from ghetto to Paris cafe, it is part of a larger oral heritage that is an expression of black America. Makeshift instruments, runaway slaves, railroads, prisons, empty rooms, work gangs, blindness, and pain have all been involved in the passing of this legacy, which has moved from hand to hand like a bottle of whiskey among friends and which now, for whatever reasons, seems faced with extinction. As Lightnin' Hopkins says: "I see a few young musicians coming along. But it's not many. It's not many at all, and the few that is--I'll tell you, you know what I mean, they don't have it. They just don't feel it. . . . I never had that trouble. I had the one thing you need to be a blues singer. I was born with the blues."With an awareness of the urgency involved, and with considerable devotion, Samuel Charters has chosen twelve major bluesmen, each whom represents a major facet of the blues, and has written about them. Rather than adopt the voyeuristic tone of the academician, he has used the direct visceral images that have always composed the blues. Also included are interviews, photographs, lyrics, and separate chapters on the black experience in America, and the evolution of the blues language from its African origins. Samuel Charters has renewed contact with the greatness of the blues legacy--from the haunting lyric songs of the bluesmen like Robert Pete Williams and Lightnin' Hopkins to the fiercely joyous shouts of Champion Jack Depree, Memphis Slim, and Mighty Joe Young.

From the field cries and work chants of Southern Negroes emerged a rich and vital music called the country blues, an intensely personal expression of the pains and pleasures of black life. This music- recorded during the twenties by men like Blind Lemon Jefferson, Big Bill Broonzy, and Robert Johnson- had all but disappeared from memory until the folk music revival of the late 1950's created a new and appreciable audience for the country blues.On of the pioneering studies of this unjustly-neglected music was Sam Charter's The Country Blues. In it, Charters recreates the special world of the country bluesman- that lone black performer accompanying himself on the acoustic guitar, his music a rich reflection of his own emotional life.Virtually rewriting the history of the blues, Charters reconstructs its evolution and dissemination, from the first tentative soundings on the Mississippi Delta through the emergence, with Elvis Presley, of rock and roll. His carefully-researched biographies of near-legendary performers like Lonnie Johnson, Blind Boy Fuller, and Tampa Red- coupled with his perceptive discussions of their recordings- pay tribute to a kind of artistry that will never be seen or heard again. And his portraits of the still-strumming Sonny Terry, Brownie McGhee, Muddy Waters, and Lightnin' Hopkins- point up the undying strength and vitality of the country blues.

The story of a woman whose work inspired one of London's greatest attractions. Born in Strasbourg, the young Marie Tussaud learned her skills from her mother's employer, Philippe Curtius. In 1780 she became tutor to King Louis XVI's sister and for eight years prior to the Revolution lived at the court in Versailles. In Paris throughout the Revolution, she was often in extreme danger. Incredibly, she was forced to make death masks from the decapitated heads of her friends who fell to the guillotine. In 1802, she opened her first exhibition at the Lyceum theatre in London. With modelled figures such as Napoleon and Josephine and other notables from the Revolution, her exhibition was very popular. She also had the guillotine blade that severed Marie Antoinette's head. For the next 26 years Madame Tussaud toured England and Scotland with her Waxwork Exhibition, until she established her base in Baker Street in 1835. She had always had a separate room, for the most gruesome of the models, which in 1846 Punch dubbed The Chamber of Horrors. The name stuck. She died in 1850 and in 1884, Tussaud's grandsons moved the exhibition to Marylebone Road, where it remains.

Born on Thursday Island in 1929, Seaman Dan didn't release his debut album, 'Follow the Sun', until his 70th birthday. In the next ten years he released five albums, showcasing traditional music from the Torres Strait, as well as those revealing his love of jazz and blues. Steady, Steady: The life and music of Seaman Dan is replete with Uncle Seaman's stories of his active and sometimes dangerous life in the islands in the heyday of pearl diving and other jobs, and his later development as a professional singer/musician. The book includes many evocative and previously unknown images sourced from family and friends and will include a CD of tracks reflecting important periods in the life of this national treasure. Listen to a sample of Seaman Dan's favourite songs

Hearing Luxe Pop explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the "countrypolitan" sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles.

In Experiencing Jazz: A Listener's Companion, writer, teacher, and renowned jazz drummer Michael Stephans offers a much-needed survey in the art of listening to and enjoying this dynamic, ever-changing art form. More than mere entertainment, jazz provides a pleasurable and sometimes dizzying listening experience with an extensive range in structure and form, from the syncopated swing of big bands to the musical experimentalism of small combos. As Stephans illustrates, listeners and jazz artists often experience the essence of the music together-an experience unique in the world of music. Experiencing Jazz demonstrates how the act of listening to jazz takes place on a deeply personal level and takes readers on a whirlwind tour of the genre, instrument by instrument-offering not only brief portraits of key musicians like Joe Lovano and John Scofield, but also their own commentaries on how best to experience the music they create. Throughout, jazz takes center stage as a personal transaction that enriches the lives of both musician and listener. Written for anyone curious about the genre, this book encourages further reading, listening, and viewing, helping potential listeners cultivate an understanding and appreciation of the jazz art and how it can help-in drummer Art Blakey's words-"wash away the dust of everyday life."

Since the 1930s and 40s, jazz has stood tall in American popular music, drawing into its embrace not only great horn players, percussionists, guitarists, bassists, and pianists, but also some of the greatest singers in America's musical history. Jazz has laid the groundwork for important innovations in modern singing, opening up entirely new ways of delivering songs through what would eventually become jazz standards-songs that formed the basis of the American Songbook. In So You Want to Sing Jazz, singer and professor of voice Jan Shapiro gives a guided tour through the art and science of the jazz vocal style. Throughout, Shapiro hones in on what makes jazz singing distinctive, suggesting along the way how other types of singers can make use of jazz. She looks at such key matters in jazz singing as the role of improvisation, the place of specific singers who influenced and even defined vocal jazz as we know it today, and the unique way in which jazz incorporates vibrato, conversational delivery, rhythmic phrasing, and melodic embellishment and improvisation. The book includes guest-authored chapters by singing voice researchers Dr. Scott McCoy and Dr. Wendy LeBorgne. In So You Want to Sing Jazz, singers and voice teachers finally have the go-to resource they need for singing vocal jazz. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Jazz features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.

This second edition of the highly successful Popular Singing serves as a practical guide to exploring the singing voice while helping to enhance vocal confidence in a range of popular styles. The book provides effective alternatives to traditional voice training methods, and demonstrates how these methods can be used to create a flexible and unique sound. This updated and thoroughly revised edition will feature a new chapter on training for popular singing, which incorporates recent movements in teaching the discipline across the globe, taking into account recent developments in the area. The book also features a new section on 'bridging' - ie. using all the technical elements outlined in the book to help the singer find their own particular expressive style to inspire more playfulness and creativity, both for the individual singer and for the teacher in practice and performance.

"Joe Wilder set the table. His struggles made it easier for me and many others."--From the Foreword by Wynton Marsalis Trumpeter Joe Wilder is distinguished for his achievements in both the jazz and classical worlds. He was a founding member of the Symphony of the New World, where he played first trumpet, and he performed as lead trumpet and soloist with Lionel Hampton, Jimmy Lunceford, Dizzy Gillespie, and Count Basie. Yet Wilder is also known as a pioneer who broke down racial barriers, the first African American to hold a principal chair in a Broadway show orchestra, and one of the first African Americans to join a network studio orchestra. In Softly, with Feeling, Edward Berger tells Wilder's remarkable story-from his growing up in working-class Philadelphia to becoming one of the first 1,000 black Marines during World War II-with tremendous feeling and extensive reminiscences by Wilder and his colleagues, including renowned Philadelphia-area musicians Jimmy Heath and Buddy DeFranco. Berger also places Wilder's experiences within a broader context of American musical and social history. Wilder's modesty and ability to perform in many musical genres may have prevented him from achieving popular recognition, but in Softly, with Feeling, his legacy and contributions to music and culture are assured.

This brilliant biography of the cult guitar player will likely cause you to abandon everything you thought you knew about jazz improvisation, post-punk and the avant-garde. Derek Bailey was at the top of his profession as a dance band and record-session guitarist when, in the early 1960s, he began playing an uncompromisingly abstract form of music. Today his anti-idiom of "Free Improvisation" has become the lingua franca of the "avant" scene, with Pat Metheny, John Zorn, David Sylvian and Sonic Youth's Thurston Moore among his admirers.

(Book). Pat Metheny is one of the most critically acclaimed, commercially successful, and musically significant artists of the last 50 years. He has not only revolutionized his instrument, but also changed the face of jazz itself. In 2007, composer, arranger, and performer Richard Niles wrote and produced a three-part series of in-depth interviews for the BBC titled Pat Metheny Bright Size Life . This book is comprised of these never-before-printed interviews and discussions with Metheny, whom Niles has known and worked with since 1974. In this series of intimate, in-depth interviews, Metheny * reveals why he was driven toward music with a stratospheric drive and dedication * uncovers the inner workings of his creative mind, showing step by step how he set and achieved each of his own demanding goals * describes his methodology as a guitarist, improviser, and composer * demonstrates his concepts and methodologies on the guitar. Niles has transcribed these unique musical performances for the book. Some of Metheny's closest colleagues, including Lyle Mays, Gary Burton, Jack DeJohnette, John Patitucci, Metheny's brother Mike, and the late Michael Brecker, have contributed to the book, which also includes numerous photographs and a discography.

In "To a Young Jazz Musician, the renowned jazz musician and Pulitzer Prize--winning composer Wynton Marsalis gives us an invaluable guide to making good music-and to leading a good life.
Writing from the road "between the bus ride, the sound check, and the gig,"
Marsalis passes on wisdom gained from experience, addressed to a young musician coming up-and to any of us at any stage of life. He writes that having humility is a way to continue to grow, to listen, and to learn; that patience is necessary for developing both technical proficiency and your own art rather than an imitation of someone else's; and that rules are indispensable because "freedom lives in structure."
He offers lessons learned from his years as a performer and from his great forebears Duke Ellington, Charlie Parker, and others; he explores the art of swing; he discusses why it is important to run toward your issues, not away; and he talks about what to do when your integrity runs up against the lack thereof in others and in our culture. He poetically expresses our need for healers: "All of it tracks back to how you heal your culture, one patient at a time, beginning with yourself."
This is a unique book, in which a great artist offers his personal thoughts, both on jazz and on how to live a better, more original, productive, and meaningful life. To a Young Jazz Musician is sure to be treasured by readers young and old, musicians, lovers of music, and anyone interested in being mentored by one of America's most influential, generous, and talented artists.

"From the Hardcover edition.

Jazz is one of the most influential American art forms of our times. It shapes our ideas about musical virtuosity, human action and new forms of social expression. In "Going for Jazz, " Nicholas Gebhardt shows how the study of jazz can offer profound insights into American historical consciousness. Focusing on the lives of three major saxophonists--Sidney Bechet, Charlie Parker, and Ornette Coleman--Gebhardt demonstrates how changing forms of state power and ideology framed and directed their work.
Weaving together a range of seemingly disparate topics, from Frederick Jackson Turner's frontier thesis to the invention of bebop, from Jean Baudrillard's "Seduction" to the Cold War atomic regime, Gebhardt addresses the meaning and value of jazz in the political economy of American society. In "Going for Jazz, " jazz musicians assume dynamic and dramatic social positions that demand a more conspicuous place for music in our understanding of the social world.

Art Pepper (1925-1982) was called the greatest alto saxophonist of the post-Charlie Parker generation. But his autobiography, "Straight Life," is much more than a jazz book--it is one of the most explosive, yet one of the most lyrical, of all autobiographies. This edition is updated with an extensive afterword by Laurie Pepper covering Art Pepper's last years, and a complete and up-to-date discography by Todd Selbert.

This is the only jazz history written by a musician that is not strictly autobiographical. Rex Stewart, who played trumpet and cornet with Fletcher Henderson and Duke Ellington, knew personally all the giants of jazz in the 1930s and thus his judgments on their achievements come with unique authority and understanding. As a good friend, he never minimizes their foibles; yet he writes of them with affection and generosity. Chapters on Fletcher Henderson, Coleman Hawkins, Red Norvo, Art Tatum, Big Sid Catlett, Benny Carter, and Louis Armstrong mix personal anecdotes with critical comments that only a fellow jazz musician could relate. A section on Ellington and the Ellington orchestra profiles Ben Webster, Harry Carney, Tricky Sam Nanton, Barney Bigard, and Duke himself, with whom Rex Stewart was a barber, chef, poker opponent, and third trumpet. Finally, he recounts the stories of legendary jam sessions between Jelly Roll Morton, Willie the Lion Smith, and James P. Johnson, all vying for the unofficial title of king of Harlem stride piano. It was the decade of swing and no one saw it, heard it, or wrote about it better than Rex Stewart.

New Orleans is a kind of Mecca for jazz pilgrims, as Whitney Balliett once wrote. This memoir tells the story of one aspiring pilgrim, Clive Wilson, who fell in love with New Orleans jazz in his early teens while in boarding school in his native England. It is also his story of gradually becoming disenchanted with his family and English environment and, ultimately, finding acceptance and a new home in New Orleans. The timing of his arrival, at age twenty-two, just a few weeks after the signing of the 1964 Civil Rights Act and the end of legal segregation, placed him in a unique position with the mostly African American musicians in New Orleans. They showed him around, brought him into their lives, gave him music lessons, and even hired him to play trumpet in brass bands. In short, Wilson became more than a pilgrim; he became an apprentice, and for the first time, legally, in New Orleans, he could make that leap. Time of My Life: A Jazz Journey from London to New Orleans tells the story of Wilson's journey as he discovers the contrast between his imagined New Orleans and its reality. Throughout, he delivers his impressions and interactions with such local musicians as "Fat Man" Williams, Manuel Manetta, Punch Miller, and Billie and DeDe Pierce. As his playing improves, invitations to play in local bands increase. Eventually, he joins in the jam and, by doing so, integrates the Original Tuxedo Jazz Band, which had been in continuous existence since 1911. Except for a brief epilogue, this memoir ends in 1979, when Wilson assembles his own band for the first time, the Original Camellia Jazz Band, with musicians who had been among his heroes when he first arrived in New Orleans.

In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950s and '60s who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.

This book offers an oral history of musical genres from the Palmetto state musicians who helped define the sounds.From Jabbo Smith, Dizzy Gillespie, and Drink Small to Johnny Helms, Dick Goodwin, and Chris Potter, South Carolina has been home to an impressive number of well-known jazz and blues musicians. Through richly detailed interviews with 19 South Carolina musicians, Franklin presents an oral history of the tradition and influence of jazz and the blues in the Palmetto State.Franklin takes as his subjects a range of musicians born between 1905 and 1971, representing every decade in between, to trace the progression of these musical genres from Tommy Benford's and Jabbo Smith's first recording sessions in the summer of 1926 to the present day. Diverse not only in age but also in race, gender, instruments, and style, these musicians exemplify the breadth of jazz and blues performers from South Carolina.In their own colorful words, the performers recall their love affairs with the distinctive sounds of jazz and blues, indoctrinations into the musical word, early gigs, life on the tour bus, fans, drugs, military service, amateur night at the Apollo Theater, and influential friendships with other well-known musicians. As the story of South Carolina musical scene is tightly interwoven with that of the nation, these narratives also include appearances by Tony Bennett, Miles Davis, Count Basie, Herman Lubinsky, Helen Merrill, Pharoah Sanders, Sister Rosetta Tharpe, and other significant musicians.

W. C. Handy's blues, Memphis Blues," "Beale Street Blues," "St. Louis Blues",changed America's music forever. In Father of the Blues, Handy presents his own story: a vivid picture of American life now vanished. W. C. Handy (1873-1958) was a sensitive child who loved nature and music but not until he had won a reputation did his father, a preacher of stern Calvinist faith, forgive him for following the "devilish" calling of black music and theatre. Here Handy tells of this and other struggles: the lot of a black musician with entertainment groups in the turn-of-the-century South his days in minstrel shows, and then in his own band how he made his first 100 from "Memphis Blues" how his orchestra came to grief with the First World War his successful career in New York as publisher and song writer his association with the literati of the Harlem Renaissance.Handy's remarkable tale,pervaded with his unique personality and humour,reveals not only the career of the man who brought the blues to the world's attention, but the whole scope of American music, from the days of the old popular songs of the South, through ragtime to the great era of jazz.

Rich in anecdote and insight, Jazz Matters is a collection of essays, profiles, and reviews by Doug Ramsey, and observer and chronicler of jazz and its musicians for more than thirty years. It stirs the reader to discover or rediscover the music and performers Ramsey describes. His accounts of recording sessions and live performances enhance this excellent review of the history, variety, and artistic depth that make jazz so profound an element in modern culture. Jazz Matters gives the reader a basis for understanding jazz improvisation Ramsey's sensitive, straightforward, and entertaining pieces promote appreciation of the accomplishment of artists from Louis Armstrong to John Coltrane and Ornette Coleman.

New Volume Students and other researchers will love this biographical and critical series covering performers and others in a wide variety of musical fields. Each volume covers more than 80 musicians and provides vital statistics, critical essays, photographs and more. Musician and subject indexes facilitate research. Look for:
-- Rap star 2Pac
-- Country sensation Shania Twain
-- Dance hitmakers Soul II Soul
-- Eclectic British rockers Blur
-- Punk-folk artist Ani DiFranco
-- Jazz bassist Christian McBride
-- And many others